Top 1200 Main Character Quotes & Sayings - Page 18

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.

There are ugly aspects to every single person's character. In being truthful, actors do have to show the ugly side of someone's character. We all behave like dicks sometimes.

I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.

I would really like it if someone knows me more for a character that I've played. If they call out the character's name instead of mine by mistake, it would be lovely.

It's all about creating a back story for the character and developing emotional responses that are true to life in relation to the character. It isn't necessary to live a tragic life to create from that place.

The clothes, the shoes, the gold belts and the necklaces always click me into the character, for sure. You could not feel the character, and then you put on the shoes and get the walk.

The "difficult" female character can-and will-do the shocking, the unexpected and, as a consequence, will give your story an immediate jolt of energy. She is the character who doesn't fit the mold.

I like all of the books I work on to be ones you can pick up without knowing the entire history of the character, because then, not only can you enjoy it as is, but it encourages you to look into the history of that character and their world.

Comedy really is my bread and butter, even when I'm doing a serious character, with the exception of Outcast. I have found very little humor in this character. Most of the time, what I do, somewhere there is comedy in it.

It's not racism per se but the tyranny of normalcy - no: the tyranny of attractive normalcy. Which leads to loveable white models who are supposed to be playing ordinary, adorably flawed professionals just like you and me with their brilliant minority friends (with vastly less camera time) who are surgeons. But it's not just ethnicity. That narrow vision also extends to, say, things like women leads. Women leads have to be good-hearted and nice, with a Slutty Best Friend. The main character can't be slutty. Because that's not attractively normal etc

I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.

Character is far more important than intellect in making a man a good citizen or successful at his calling- meaning by character not only such qualities as honesty and truthfulness, but courage, perseverance and self-reliance.

My intention is always to honor the character that Lev [Grossman] created in the books and my greatest concern, honestly, is that the fans of the books will embrace me as this character that they've imagined in their heads.

I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.

Knowledge is essential to conquest; only according to our ignorance are we helpless. Thought creates character. Character can dominate conditions. Will creates circumstances and environment.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

There are many wonderful orchestras in the world, but very few who have a character or personality of their own. The Chicago Symphony Orchestra is one of them, and I think it very important to recognize and respect that character.

I love the idea of being the underdog, coming in with a take on this underdog character and completely blow people's expectations away. Like, 'Oh, you thought he was going to be a wimpy character? No no no.'

Lee Dam is a character who expresses her feelings honestly. I thought we had a lot in common and I've always wanted to play a confident character like her.

I let the comedy come through the character and just try to make sure that everything is kind of rounded in a truth, in a reality, because that's what I need to make a character work.

The only thing that endures is character. Fame and wealth-all that is illusion. All that endures is character.

I spent a lot of time playing in miserable places that were not a lot of fun. Somebody once said it is character building and I was like: My character is just fine.

I don't approach my character in a set pattern. I want to get into the skin of the character. I don't love Manoj Bajpayee; I love all my characters. And that is why people today remember all my roles.

There are just times when your body and your soul feed into a character and you somehow meet at the point where that character truly lives in you. It happens in plays, in TV, in films.

I guess every character has a little bit of the actor - I guess for every character you play, the actor has to allow a little bit of their own character to show through.

My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.

My job has always been to not only make my character look like a badass but to also make the actor I am fighting opposite to be the character they need to be too.

If there's anything Trollope novels always take seriously, it is money - how it flows from one character to another, how it is managed, who has it, who deserves it, and what it means to a character, male or female.

No one is born with good character; it's not a hereditary trait. And it isn't determined by a single noble act. Character is established by conscientious adherence to moral values, not by lofty rhetoric or good intentions.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

My social media is very strict to my character and I've disabled comments on a lot of things because why would the Aleister Black character care about comments?

I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.

Life experiences help in understanding the character. And many things come to your mind regarding the character sketch when you read the script as many times as possible.

At Second City and improvising at iO, you're creating a character in an instant. All of a sudden, you're creating this history and this past for your character, and you're discovering it while you're doing it, and that's part of the fun of it.

I think anyone loves to play a character that is either evil to a certain extent or has a real definable character flaw. Those are always really fun, and, I think, funny.

The character truest to itself becomes eccentric rather than immovably centered, as Emerson defined the noble character of the hero. At the edge, the certainty of borders gives way. We are more subject to invasions, less able to mobilize defenses, less sure of who we really are, even as we may be perceived by others as a person of character. The dislocation of self from center to indefinite edge merges us more with the world, so that we can feel blest by everything.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

If you're doing television, you get to be a character for a long time, and the cast around you becomes like family. You get attached to playing that one character, and it's hard leaving them behind.

My size has helped make me an amazing performer too. The cliche of the Funny Fat Friend: I absolutely was that character - I am that character... It's a complicated bag of tools I acquired, and I've put them all to work onstage.

The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.

What sometimes goes on in all sorts of Christian institutions is not formation of people in the character of Christ; it's teaching of outward conformity. You don't get in trouble for not having the character of Christ, but you do if you don't obey the laws.

My sense of myself is that I'm a character actor, and character actors are ready, willing, and able to do anything, to be totally different from themselves. That's my job, to be ready. I'm some kind of first responder.

Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.

It's important to fight for your character but at the same time realize there's a bigger picture involved and, you know, this is a character that's shared by everybody. It's not just purely your own.

When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.

When you're on screen with Mads, there's some real fireworks because your character is his intellectual equal. In a way, maybe your character has an instinct as to who this man really is.

A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.

In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.

The baseline character in a lot of Western literature is a man. So we, as women, do a lot of suspending of our disbelief to experience a novel or a play or a movie through that male character.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

First and foremost, stepping into something like a Marvel project is insane. I mean, my character is from 1968, and she's the second female X-Men ever. It's exciting, but it's also a great amount of pressure to do right by the character.

Acting is very much like a child making believe. I'm not one to become a character, but I fall in love with the character. It's like having faith; you're going to be that person for a while.

It's always exciting to create a character that people can relate to, where people are like, 'Oh, I know this dude,' but maybe you've never actually seen this type of character on TV.

I think that television has become really, really interesting, in terms of character development. You can have 13 hours to develop a character, as opposed to 25 minutes in a movie. That excites me.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.

Man, having an ideal before him of that which he ought to be, and is not, and acting as though he possessed the character he ought to have, but has not, comes, by the very virtue of his aspiration, to possess the character he imagines.

I honestly do think that every character - you pick up the things, little things that you like about them in your life. Especially if you play a character for a long time.

'Shivalinga' was a tough project - I did my own stunts in the film. I actually enjoyed it, as I play a character with many layers. It was challenging to switch between the many phases of the character.